Uploaded May 2026 | Updated September 2026, 2 weeks ago
8 x 8: A Chess Sonata in 8 Movements (1957) is a landmark American avant-garde film that transforms the strategic game of chess into a surrealist fantasy. Co-directed by Dada and Surrealist pioneers Hans Richter, Marcel Duchamp, and Jean Cocteau, the film is famously described by Richter as "part Freud, part Lewis Carroll." It operates as a whimsical, dream-like fairy tale designed to stimulate the subconscious mind. Partially filmed on the lawn of Richter’s summer home in Southbury, Connecticut, the project served as a playground for a legendary gathering of mid-century artistic geniuses. It features appearances and creative contributions from icons like Max Ernst, Alexander Calder, Paul Bowles, and Fernand Léger, all set to an original, experimental score by Robert Abramson, John Gruen, and Douglas Townsend. The result is a historic, multidisciplinary time capsule of the 20th-century art world.
8 x 8: A Chess Sonata in 8 Movements (1957) is a landmark American avant-garde film that transforms the strategic game of chess into a surrealist fantasy. Co-directed by Dada and Surrealist pioneers Hans Richter, Marcel Duchamp, and Jean Cocteau, the film is famously described by Richter as "part Freud, part Lewis Carroll." It operates as a whimsical, dream-like fairy tale designed to stimulate the subconscious mind. Partially filmed on the lawn of Richter’s summer home in Southbury, Connecticut, the project served as a playground for a legendary gathering of mid-century artistic geniuses. It features appearances and creative contributions from icons like Max Ernst, Alexander Calder, Paul Bowles, and Fernand Léger, all set to an original, experimental score by Robert Abramson, John Gruen, and Douglas Townsend. The result is a historic, multidisciplinary time capsule of the 20th-century art world.


![Karlheinz Stockhausen: Mikrophonie I • Mikrophonie II
Mikrophonie I:
Electronics [Filters, Potentiometers] – Hugh Davies, Jaap Spek, Karlheinz Stockhausen
Electronics [Microphones] – Harald Bojé, Johannes Fritsch*
Recording Supervisor – Hans-Georg Daehn*
Tam-tam [Tamtam] – Fred Alings*, Aloys Kontarsky
Technician – Jaap Spek
Mikrophonie II:
Bass Vocals – Arno Reichardt, Dietrich Satzky, Friedrich Himmelmann, Hermann Steigers, Peter Weber, Werner Engelhardt
Chorus – Studio Choir For New Music, Cologne*, West German Radio Chorus*
Conductor – Herbert Schernus
Conductor [Timer] – Johannes Fritsch*
Organ [Hammond] – Alfons Kontarsky
Recording Supervisor – Hans-Georg Daehn*
Soprano Vocals – Frigga Ditmar, Helga Hopf, Meta Ackermann, Mimi Berger, Monika Pick, Ulla Terhöven*
Cover photo by NASA from The New York Times.
Released: 1967
Mikrophonie is the title given by Karlheinz Stockhausen to two of his compositions, written in 1964 and 1965, in which “normally inaudible vibrations . . . are made audible by an active process of sound detection (comparable to the auscultation of a body by a physician); the microphone is used actively as a musical instrument, in contrast to its former passive function of reproducing sounds as faithfully as possible” (Stockhausen 1971a, 57).
Together with Stockhausen’s immediately preceding work Mixtur, for five orchestra groups, four sine-wave generators, four ring modulators, they form a tryptych of live-electronic works, where electronic transformations are accomplished during the performance (as opposed to studio-produced electronic music on tape). Similar to a group of three of the composer’s works from the previous decade, Gruppen, Zeitmaße, and Gesang der Jünglinge, there is one work each for orchestral, chamber, and vocal forces. Karlheinz Stockhausen: Mikrophonie I • Mikrophonie II](https://i.ytimg.com/vi/TAtTv8tXwKM/mqdefault.jpg)





![György Ligeti: Lux Aeterna
Engineer – Hans-Peter Schweigmann
Producer – Karl Faust
Recording Supervisor – Dr. Manfred Richter
(1968)
The piece features many of Ligetis characteristic styles, including:
Micropolyphony, which Ligeti describes as The complex polyphony of the individual parts[,] embodied in a harmonic-musical flow in which the harmonies do not change suddenly, but merge into one another; one clearly discernible interval combination is gradually blurred, and from this cloudiness it is possible to discern a new interval combination taking shape.
Cluster chords, where every note within a given interval is sung simultaneously
A focus on timbre instead of melody, harmony, or rhythm.
The piece can be seen as divided into three distinct parts, as designated by text:
Lux aeterna luceat eis [m.1–36]: The sopranos and altos sing very similar parts in Ligetis characteristic style of micropolyphony. Each part has the same sequence of notes, separated by small time intervals. The tenors enter about halfway through this section, singing in the same range as the women.
Domine cum sanctus tuis in aeternum... [m.37–86]: The basses enter, singing in very high falsetto, showing Ligetis focus on timbre and texture. This is followed by a section where only the mens voices sing, and then the women enter on the text Quia pius es. The sopranos sing Requiem aeternam dona eis in a high register and gradually fade away.
Domine et lux perpetua luceat eis [m.87–126]: The men again sing the text Domine, this time in a more usual register, followed by the womens entrance, the altos in a low register and the sopranos in a high register. All parts gradually fade, and the piece ends with seven bars of silence. György Ligeti: Lux Aeterna](https://i.ytimg.com/vi/W5y1dwVc7O8/mqdefault.jpg)

